Chinese opera professor commented on "Crazy": An Xin is stronger than Gao Qi and difficult to act! The words hit the nail on the head

Although the anti-black drama "Crazy" has long ended, the discussion about it is not over, and it is still very hot.

Recently, in the column of the sixth princess "Today's Film Review", Chinese opera professor Li Hong commented on Zhang Yi in "Crazy", bluntly saying that he contributed a very good performance, in fact, to some extent, the role of An Xin is more difficult than Gao Qiqiang.

Zhang Yi, the magnolia TV emperor and the Golden Rooster Award actor, has already proved himself with one award after another, and there are many representative works. However, his performance in this drama has been subjected to polarized evaluations, especially his accent problems, and he has been complained and accused, and many people think that his performance in the play is too contrived and not relaxed enough.

In the face of controversy, Chinese opera professor Li Hong believes that An Xin is actually more difficult to act than Gao Qiqiang, because Gao Qiqiang's character changes greatly and has room for performance, while An Xin is more of a consistent belief in justice. Zhang Yi mobilizes all his inner and outer qualities to shape the character, and his performance is full of passion and rationality, which is worthy of our repeated appreciation.

In her opinion, the character of Gao Qiqiang has its own development attributes, from a small fishmonger to a black boss, this transformation is distinct and three-dimensional, so it can be easier to grasp and shape.

But An Xin's role is different, his belief is consistent, that is, to punish evil and promote good for fairness and justice.

There are three time stages in the play, and it can be seen that this belief has never wavered, which dooms An Xin to not have richer layers of changes like Gao Qiqiang, which is more difficult for actors.

Despite this, Zhang Yi's shaping did not disappoint, and even brought more surprises to everyone.

Chinese opera professor Li Hong believes that Zhang Yi has created development in the seemingly undeveloped process.

In the first stage, the spirit is high.

There are dreaming young people, being a good policeman, covered by elders, accompanied by masters and comrades-in-arms, and chatting with friends.

It can be said that An Xin in this period lacks nothing, only a chance to prove himself, the whole state can be described as free, fearless, and the whole performance is also quite relaxed.

The second stage, forbearance and dormancy.

The master became an inner ghost, his comrade-in-arms Li Xiang sacrificed, his friend was like a stranger, and the elders were transferred, facing the powerful underworld forces, making him repeatedly frustrated, and he felt extremely weak for An Xin, so he chose to endure and hibernate. So began to carry a backpack, which undoubtedly implied his burden and responsibility, forcing him to give in temporarily, partly to protect himself and on the other hand to seek opportunities.

At this time, the performance began to pay off, no longer released as before.

The third stage is old and spicy and steady.

When the guidance group first arrived, An Xin was also suspicious and hesitant, so the initial state was still the same as the second stage. But with the contact and understanding, I began to believe that the whole person's state returned to the beginning, but it was not as reckless as before, but became old and steady.

The whole rhythm of the language is slow, the breath is heavier, there is relaxation and tension.

Looking at the changes in the characteristics of the characters in the three stages, Zhang Yi undoubtedly accurately grasped those nuances, and finally through makeup and body language, An Xin had the distinctive characteristics of the three stages.

Chinese opera professor Li Hong said: "He also gave him some help through these changes in the body, including the external shape, and the costume must resonate with the actor's cognition of the character and the changes in his body in order to become a whole." ”

For Anxin, the tribulations suffered constantly, but also suffered a lot of grievances, and even finally gave up marriage and love, chose to fight alone, the sense of justice in his heart has never been lost, in the face of injustice choose to endure dormancy, as long as he waits for the opportunity, he will go all out.

Therefore, in the play, the character of An Xin is more about psychological changes and the details caused by ups and downs, which need to be grasped more accurately by the actors, not a "big opening and closing" performance like Gao Qiqiang, and the whole level of change is greater. Zhang Yi interprets this character more in terms of language, demeanor, body rhythm, and subtlety. Therefore, for the audience, it is necessary to watch more carefully in order to really enter the heart of this character and empathize with it.

Chinese opera professor Li Hong gave an example.

After An Xin became a traffic policeman, he put on gloves and stood at the intersection, at first he still made movement gestures like ordinary traffic police, directing traffic, but while doing it, the whole person leaned down, leaned down and he began to twitch, although it was a large panorama that could not observe the change in facial expressions, but the shaking of the whole body was clearly visible.

This action alone can make people feel how much pressure he has endured and what kind of suffering he has endured.

Chinese opera professor Li Hong believes that this is completely an expression of the organic combination of the actor's very good internal emotional feelings and this external embodiment.

Through such an analysis, perhaps those skeptical audiences can better understand why Zhang Yi performs like this, rather than blindly complaining, obviously evaluating his performance still has to start from the characters, rather than one-sidedly to compare with other characters, after all, each role is different, the performance is to change according to the growth and development of the characters, of course, some changes are large, some changes are small, and the final presentation is different. You tell me?